Backcountry is a well-acted film with a familiar premis
Foxcatcher chronicles the tragic partnership of multi-m
Hell hath no fury like a fairy whose wings have been
Like Timothy Dalton’s final Bond film, License to Kill, Pierce Brosnan’s final turn as Bond in Die Another Day, offers a departure from the familiar. Introduced with a shimmer of gray at his temples, this Bond is a bit more seasoned than he was in the previous three films. This is both honest to Brosnan’s age, but […]
If there were a marriage of Goldeneye and Tomorrow Never Dies, The World is not Enough would be the progeny produced. While there are action scenes aplenty, they are buffered with the slow building of character and a Bond who seems to feel genuine concern for Electra (Sophie Marceau), the young oil heiress that he is asked […]
If nothing else, the Bond franchise teaches us that consistency is overrated, but perhaps this is the best way to keep drawing an audience. Looking through the previous 17 films, it’s difficult to find two in a row that contain a similar tone or style. This, in part, could be blamed on the frequent change in directors, […]
After a six year break, GoldenEye became the rebirth of the Bond franchise, this time featuring Pierce Brosnan as 007. While License to Kill marked the end of an era with Bond’s shift from Mi6 agent to rogue vigilante, GoldenEye marks another shift in the tone of Bond films. Perhaps entry into the 1990’s predicated a change […]
After a steady succession of films in the Bond franchise released every two years, the much darker and much more violent (until Casino Royale, that is) License to Kill marked the beginning of a six-year hiatus in the Bond franchise before we were privy to the Brosnan generation. It also marked the final film for actor Robert […]
Timothy Dalton’s first turn as Bond is a departure from his predecessors’.
The final Roger Moore film in the Bond series requires a villain to save it from the muck.
Perhaps Moonraker and For Your Eyes Only illuminate the highlights of Octopussy and make it a highlight of the near-end of Roger Moore’s tenure.
Nothing about this film is for your eyes.
Moonraker is a product of its time and an exemplification of the Bond evolution.
